sirianni stephanie 160759 final journal

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architecture design

studio: air2014

stephanie sirianni

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architecture design studio: airstephanie sirianni

2014

Tutors: Victor BunsterFinnian Warnock

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Contentsthe author 4previous project experience 5the technology: dye solar cells 6A.1. design futuring 8A.2. design computation 10A.3. composition/generation 12A.4. conclusion 14A.5. learning outcomes 14B.1. research field 16B.2. case study 1.0 18B.2. selection criteria 22B.3. case study 2.0 24B.4. technique: development 30B.5. technique: prototypes 40B.6. technique: proposal 42B.7.learning objectives & outcomes 44C.1. design concept 46C.2. tectonic elements 58C.3. final model 66C.4. additional LAGI brief requirements 74C.5. learning objectives & outcomes 79references 88appendix - algorithmic sketches 90

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Welcome to my journal for Design Studio Air.My name is Stephanie Sirianni, I’m a Mechanical and ESD Engineer, engaging in Architectural studies to further develop my understanding of the relationships between architecture, services, and sustainability.

To date I have undertaken one studio class for which I utilised Revit for 3D modelling and documentation. I have had limited experience with AutoCAD and this studio if my first introduction to Rhino and Grasshopper.

Through my engineering work I have been exposed to digital architecture, however, typically my from a design perspective with limited drafting experience.

the author

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previous project

experienceThese rendered 3D model images were

produced in Design Studio Water in 2013, utilising Revit software.

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Dye solar cell technology is the chosen renewable energy methodology for this project to fulfil the requirements of the Land Art Generator Initiative (LAGI) brief. All precedent projects and algorithmic techniques are to be explored with a focus on solar technology and the potential integration of dye solar cell technology in the forms generated.

Dye solar cells consist of a layer of electrolyte, a layer of titania and a layer of ruthenium dye, all sandwiched between 2 conductive layers (typically glass). When light hits the cells, an electric current is generated.2

Dye solar cells are typically 9-11% efficient, durable, semi-transparent, flexible in form, work well at low light levels and have a relatively low production cost.1 For this reason they are an attractive renewable energy generation option, as the cost of energy measured across the life of the project becomes competitive with traditional energy generation approaches.1

The attraction of this type of technology as a means to meet the LAGI brief, is that the panels can be arranged in non-planar surfaces due to the flexibility of the internal materials, and various colours and patterns of dye can be utilised. This provides enormous scope for the type of forms explored throughout the semester, and an opportunity to utilise solar technology in an unconventional manner.

the technology:dye solar cells

1. Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71

2. Dyesol, 2014) <http://www.dyesol.com/about-dsc> [Accessed 7 June 2014].

3. ‘Dye-Sensitized Solar Scores Morgan Stanley Backing’, World Congress on Ecological Sustainability, (2008) <http://www.wcoes.org/2008/06/dye-sensitized-solar-scores-morgan.html> [Accessed 7 June 2014].

4. Kathy Li Dessau, ‘Learning from Nature: Dye-Sensitized Solar Cells’, Solar Novus Today, (2010) <http://www.solarnovus.com/learning-from-nature-dye-sensitized-solar-cells_N1598.html> [Accessed 7 June 2014].

5. Romande Energie, ‘Epfl’s Campus Has the World’s First Solar Window’, École Polytechnique Federale de Lausanne, (2013) <http://actu.epfl.ch/news/epfl-s-campus-has-the-world-s-first-solar-window/> [Accessed 7 June 2014].

Figure 2: Various colours can be used. Image by EPFL / Alain Herzog5

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Figure 1: Dye Solar Cell technology components2

Figure 4: Flexibility of Dye Solar Cell technology components3Figure 3: Potential for pattern integration. Image by Sony Corporation4 Figure 2: Various colours can be used. Image by EPFL / Alain Herzog5

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The Pixel building, located at 205 Queensberry Street, Carlton, is an example of a project where the intent of the design was to create a positive environmental impact, drive industry change and educate both designers and the wider community. As described by Grocon, designed as a “Future Office“,3 the design utilises technology at the forefront of sustainability design to create a carbon neutral building. The building achieved a perfect Green Star score from the Green Building Council of Australia, representing world leadership in sustainability design.4

The building was recently sold, and advertised as a “future-proofed“ investment, with lower operating costs, improved productivity for occupants, a healthier indoor environment and corporate social responsibility key aspects of the sales pitch.3

The operation and occupancy of the building portrayed along similar lines to a conventional office space, with the prime difference being the way outcomes are achieved through the design process. For example, indoor thermal comfort attained via the use of a gas fired absorption chiller for cooling which produces lower CO2 emissions and is the first commercial installation for this type of system in Australia.3 Another unique feature of the design was the photovoltaic solar array on the roof, which tracked the sun to improve the energy generation of the panels by 40%.4 Essentially for both of these design and technology examples, the intent is for the experience of the user to remain the same, with the only difference being the engineered and architectural design behind the outcome.

A.1.design futuring

Tony Fry discusses in Design Futuring: Sustainability, Ethics and New Practice, the potential impact designers can have on reshaping the world in which we live.1 Fry refers to “Design Intelligence” as the key value adding component of design, which is the insight, experience and value adding qualities a designer provides to the design process. Fry argues that “Design Intelligence” enables designers to identify and implement strategies to increase “Design Futuring“, which relates to the sustainability of systems and design, improved environmental performance and a reduction in the negative anthropological impacts associated with many forms of design to date.1 Fry alerts us to the risks of new design tools, such as software, to potentially distance designers from the design process and remove designers and design intelligence from the design process altogether. This may result in generic and simplified solutions which become destructive to the future sustainability of design and result in negative environmental impact.

Figure 5: Solar panels on roof of Pixel building track the sun.2

Figure 6: Pixel building, Carlton3

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The energy industry in China is heavily dominated by coal fired power stations. The Sino-Italian Ecological and Energy-Efficient Building (SIEEB) at Tsinghua University in Beijing proposes an alternative perspective to energy generation and building development. The facility designed to minimise energy consumption and CO2 emissions, utilises photovoltaic cells to generate power, improved thermal performance and solar shading to the facade, low energy HVAC systems, gas engines for electricity generation and occupancy controls.5

The solar panels are integrated into the facade in a unique manor, making a bold visual statement of their presence. This is in line with the buildings purpose to provide education, training, research and development to further promote alternative energy sources.5 For both the Pixel and SIEEB buildings, the sustainability features are visually prominent, and send clear messages to not only the building occupiers but onlookers of a new perspective on what buildings of the future look like and the associated sustainability benefits they can incorporate. Their presence provokes thought and generates new ideas amongst designers, occupiers and the general public, and as Fry describes the design continues designing by informing potential avenues for future design exploration.1

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008).

2. Evonne Barry, ‘New Hi-Tech Building Aims to Keep Men Cool and Women Warm’, Herald Sun, 13 July 2010.

3. Grocon, 2014 <http://www.pixelbuilding.com.au/greenicon.html>.

4. GBCA, ‘Pixel’ 2013 <http://www.gbca.org.au/green-star/green-building-case-studies/pixel/> [Accessed 22 March 2014].

5. Ali Kriscenski, ‘Sieeb Solar Energy-Efficient Building in Beijing’2007) <http://inhabitat.com/sino-italian-ecological-and-energy-efficient-building-sieeb/> [Accessed 22 March 2014].

Figure 7: SIEEB building, Beijing5

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Engineering firm Knippers Helbig utilised an iterative design approach with computational 3D modelling to design the kinetic facade for the Thematic Pavilion in Yeosu in South Korea. The modelling was utilised to assess the facades response to light and building physics.3 A largely problem solving design task, however, one which greatly influenced the aesthetic and creative interpretation of the design. This is an example of a case where the computational design process could be used as an integrated design solution for the problem solving and puzzle making tasks described by Kalay.2 The problem solving tasks representing the process of finding solutions to clear constraints, where as puzzle making is the more creative process of design when an unknown solution is sought.

Traditionally, the role of computer aided design has been to assist designers with drafting, analysing outcomes and proposing solutions for a component of the design process.2 These processes have been more geared to the problem solving aspects of the design, but MacLellan et al argue that computational design could play a key role during the early concept design for projects, despite this traditionally being perceived as a highly creative stage of the design process where the designers role is key.3 MacLellan

A.2.designcomputation

Computers are capable of undertaking complex algorithms which may be time consuming or difficult to comprehend via direct human assessment. Computational modelling may be used to determine the optimum solution within given constraints, to generate new ideas unknown to the designer, or as a visual aid in communicating a design. The effectiveness of their role in the design process is however dependent on the designers’ understanding and interpretation of the inputs and outputs for the computer generated results.

As software technology is continually evolving, the capability of computational iterations and simulations to be used during the design process is ever increasing. This requires a shift in the design process to incorporate these new tools, and for designers’ to learn the language of computational design tools. That is, to understand not only how to use the software, but also potential shortfalls and limitations associated with computational design. Without a thorough understanding of the tools, the software may be incorrectly used or interpreted and the potential benefits hindered.

All computer algorithms have constraints which must be clearly understood, and this is where the role of the designer is paramount. As described by Kalay, it is the experience of designers and their creative interpretation of a project which contribute to a design in a way in which the problem solving capabilities of computers may be constrained.2

Figure 8: Thematic Pavilion Kinetic Facade.4

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et al suggest that the use of computation at this early concept stage is about defining a problem space rather than searching for a solution to a problem.3

Oxman & Oxman also discuss the potential for computational design to be utilised throughout the design process, from form generation, to performance assessment and material fabrication.1

Kolarevic discusses how the shipbuilding industry are utilising 3D modelling for the design and construction process.6 Elements of this design and construction process are beginning to form in the building industry, with 3D modelling being incorporated for design and some manufacturers utilising a manufacturing process to build construction modules.

DO|SU Studio Architecture undertook a research project in Los Angeles titled Bloom. The aim of the project was to integrate computational design and pattern making with environmental response.5 The outcome a form comprising of a series of sheet metal components which curl when heated, enabling the structure to change shape in response to temperature and the location of the sun.5 This is an example of a visually effective and environmentally sensitive structure, for which the form was explored via computational design to optimise both elements of the design.

Figure 9: Bloom Research Project. Drawings by DO|SU Studio Architecture. Photographs by Brandon Shigeta5

Both the Thematic Pavillion and the Bloom project, illustrate the potential role of computation throughout the design process to generate ideas on form with greater complexity than traditional designtechniques, test options, and analyze outcomes and environmental performance. The process incorporating both problem solving and puzzle making processes, and as a result generating perhaps unexpected forms that may not have been thought of without the assistance of computation.

1. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014).

2. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.

3. C. J. MacLellan, P. Langley, J. Shah, and M. Dinar, ‘A Computational Aid for Problem Formulation in Early Conceptual Design’, Journal of Computing and Information Science in Engineering, 13 (2013), 10.

4. AEC, ‘Smartgeometry 2012 Conference’2012) <http://www.aecbytes.com/buildingthefuture/2012/SmartGeometry2012.html> [Accessed 26 March 2014].

5. Alison Furuto, ‘Bloom / Do|Su Studio Architecture’, ArchDaily, (2012) <http://www.archdaily.com/215280/bloom-dosu-studio-architecture/> [Accessed 26 March 2014].

6. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003).

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A.3.composition/generation

“computation also has the potential to provide inspiration and go beyond the intellect of the designer, like other techniques of architectural design, through the generation of unexpected results”

Peters, 20131

Historically architecture has been influenced by a series of guiding principles, providing framework for design and simplifying the design process to create a more manageable set of constraints in a world of endless design possibilities. Kalay describes this process as rule based design, with methodology and manuals on how to design developed throughout architectural history.2 This process has enabled designers to generate ideas, based on experience and a set of rules encompassing historical ideals of design. Symmetry, axis, geometric forms, grids and boundaries providing the framework for design. The problem with this form of design, is that it limits the design possibilities and confines idea generation to human thought processes.

Peters discusses the potential shift from computerisation, simply utilising computers as a means to document the current human design process, versus computation and the possibility of generating complex ideas via computer aided systems.1 This opens up enormous possibilities to generate unexpected outcomes, in line with the design brief, site conditions and user experiences, without the need to restrict the generation of ideas to simplify the process for human consumption. This becomes a process of assessing the puzzle making creative process described by Kalay.2

Figure 10: Lotte Tower in Seoul, Korea6

Figure 11: Lotte Tower in Seoul, Korea. Analysis of solar incidence angles on the facade6

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The generation of computational ideas have emerged in the form of algorithms, parametric modelling and scripting. Aided by technological development, leading architectural and engineering forms have engaged in parametric modelling and research to utilise the benefits of computational design in the generation and analysis of geometric and digital designs.3 Kolarevic expresses excitement in the possibilities enabled by the increased complexity, facility and speed for idea generation enabled by computer software developments.4 However, with this technology advancement there are also associated challenges for the architectural industry for which significant changes are required for both the design and construction processes.

For the Lotte Tower in Seoul, Korea 3D modelling was utilised for the design, and laser cutting was also used to produce a model.6 AutoCAD parametric modelling was utilised to analyze the solar incidence angles on the facade, as shown in Figure 11. The solar tracking was related to the thermal performance of the building and occupant comfort. A frit was then applied to the glass in the areas most affected by solar radiation to improve the thermal performance, with algorithms utilised for the determination of thefrit size and density to achieve the most effective results.6

The form for the Endesa Pavilion for the Smart City World Congress in Barcelona was derived using parametric modelling to determine the optimum geometry to maximise the solar gains to solar panels for all aspects of the facade.5 The solar characteristics of the site were measured during the early stages of design, and used to assess the optimum performance for solar energy generation.

1. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15.

2. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25.

3. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014).

4. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003).

5. IAAC, ‘Endesa Pavilion’2011 <http://www.iaac.net/archivos/project/pdf/endesa-brocheng.pdf>.

6. Neil C. Katz, ‘Parametric Modeling in Autocad’ 2007 <http://www.aecbytes.com/viewpoint/2007/issue_32.html> [Accessed 26 March 2014].

Figure 12: Endesa Pavilion. Photo by Adriá Goula 5 Figure 13: Endesa Pavilion Solar Performance

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The key theme of the projects investigated to date have been solar energy generation and the relationship between computational design and maximising the renewable energy and daylight gains via 3D tracking of the sun. These projects have illustrated the benefits of computational design for assessing the solar influence on form, and going forward I would like to explore this concept further.

Computational design enables the exploration of form, by generating multiple design iterations based on complex algorithms that may be difficult to comprehend from a traditional design perspective. Via the exploration of parametric modelling utilising Rhino and Grasshopper, this will enable a consideration of unique and innovative options which will reveal themselves during the modelling process. Providing an opportunity to extend design possibilities beyond my own thought processes, which are based on limited experience and historical influence from traditional education forums.

A.4.conclusion A.5.learning outcomesAt the completion of Part A of the studio, I now have a clearer understanding of the studio objectives. Coming from an engineering background, the computational modelling I have undertaken to date is generally in relation to problem solving tasks, where the constraints are clearly defined and the desired outcome known. The puzzle making approach to generative design, which addresses the more creative component of the design creates an interesting alternative to my experience to date. Going forward I am curious as to whether there may be aspects to the design where problem solving and puzzle making elements can be integrated, as is evident in many of the projects researched to date.

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The material system selected by our group for further research was Strips & Folding. Based on our selection of Dye Solar Cell technology for renewable energy generation, this material system was thought to be a suitable selection for the potential exploration of non-planar surfaces for solar energy generation, which differs from traditional responses to solar energy production which typically utilise panels. This creates both an opportunity and challenge for form exploration.

Parametric modelling shifts the design process from direct design to the creation of relationships.4 This results in the generation of unexpected forms which may create challenges in the design process for user interpretation and control. It also introduces fabrication challenges, as the practicality for prototyping of a particular form is not always able to be considered through parametric form. The way computational outcomes are represented, therefore, need to be assessed for fabrication opportunities.

Three case studies of particular interest, using a strips and folding material system, are the ICD/ITKE Research Pavillion created by Stuttgart University, the Double Agent White by Theverymany, and the Seroussi Pavillion by Biothing. These were of interest for their fabrication based on an essentially curved surface for identification of some possible fabrication techniques for our prototypes.

The case studies emphasise the importance of material and fabrication considerations when generating computational form, in particular the physical limitations and how these may be considered via algorithms. For our design concept this provides several options for potential fabrication: panelling, segmentation, 3D printing or other methods of generating single fluid components. Materials for fabrication also need to be considered in terms of solidity, flexibility and potential joint mechanisms.

B.1.research field

Figure 14: ICD/ITKE Research Pavilion 2010 in Stuttgart, Germany 1

The ICD/ITKE Research Pavillion by Stuttgart University utilises thin bent elastic plywood strips for construction. The form generation driven by the physical characteristics of the material selection and computational modelling is a reflection of this relationship.1

Due to the importance of sunlight, the transparency and deflected effects of natural light are considered important to the aesthetics of our project. For this reason, glass and perspex are considered attractive materials, however they limit construction techniques due to their rigidity. This is a material challenge that needs to be considered in conjunction with computational modelling going forward. The computational outcomes themselves may assist to provide insight into potential material selections and fabrication techniques.

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1. ‘Icd/Itke Research Pavilion 2010’, Stuttgart University Institute for Computational Design, (<http://icd.uni-stuttgart.de/?p=4458> [Accessed 4 May 2014].

2. Jessica Escobedo, ‘Double Agent White in Series of Prototypical Architectures / Theverymany’, Evolo, (2012) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [Accessed 4 May 2014].

3. Biothing, ‘Seroussi Pavillion’2014) <http://www.biothing.org/?cat=5> [Accessed 1 May 2014].

4. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

Figure 16: Seroussi Pavillion by Biothing3

Figure 15: Double Agent White by Theverymany2

The Double Agent White form as shown in Figure 15, utilised object based computing to divide the form into parts for fabrication.2 Minimising the number of components to maximise form continuity.

The Seroussi Pavillion, provides the greatest fabrication challenge of the case studies investigated. Prototypes appear to have been 3D printed with no apparent economical method of mass production for the form. This case study identifies the challenge of producing large scale computational forms with practical fabrication outcomes, and the importance of material considerations during computational modelling.

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B.2.case study 1.0

The grasshopper definition for the Seroussi Pavillion by Biothing, under the Strips & Folding material system was utilised for further development and manipulation to generate unexpected forms.

The outcomes and corresponding changes made to the algorithmic inputs are shown on pages 22-25. Each species generated is shown in a separate column.

species 1 species 2

line charge

line charge square grid

line charge rectangle

line charge perpendicular frames

straight lines

translation of lines in Z direction

vary number of curves

positive charge in Z direction

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species 4species 3

increase number of divisions

increase circle radius

baked circles only

low divisions

curves arrayed

increase curve divisions

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B.2.case study 1.0species 5 species 7species 6

beizer graph

conic graph

sine graph freeform patch

freeform pipe

populate geometry plane

freeform sweep populate geometry 3D form

populate geometry 3D form

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species 9

species 8

sweep and piped curves

sweep and piped curves with raised graph

increased pipe radius

circled pipe and extension graph

piped circles with spin force

lines with higher vector force

vector spin boxes

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B.2.selection criteria

1 surface area for solar exposure

2 visual intrigue

3 human interaction

Two key factors influenced the selection criteria in which to identify the most successful outcomes of computational modelling for Case Study 1.0:

• As Dye Solar Cell technology has been selected as the form of renewable energy generation for our project, maximising the surface area for solar exposure is key to the success of the design outcome. The potential to manipulate form to maximum solar exposure was also considered, so therefore components that could be adjusted directionally to improve solar gain were favoured. When refining the computational outcomes, algorithms to maximise solar exposure could be utilised in combination with local weather data.

• The LAGI design brief requires the design to “stimulate and challenge the mind of visitors to the site”. Our objective to achieve this requirement, is to create a strong visual and educational link between the use of solar energy generation and the physical form. Therefore the use of natural light to create aesthetic impact was considered fundamental to the design, as was how the form responded to changing levels of natural light and the movement of the sun throughout the day. In response to this idea, the visual intrigue and potential human interaction with the form was prioritised.

Therefore, 3 selection criteria were derived and are listed below. These selection criteria were considered when identifying the most successful outcomes of algorithm adjustment, and refining these ideas to produce further iterations. The most successful iterations are shown on the following page, along with the rationale for their selection.

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Freeform sweep:

This outcome from computational modelling is visually stimulating with various layers and depth to the design. Natural light would create interesting effects on both the surface and projected to the ground below. A canopy like structure enables visitors to explore both the inward and outward dimensions of the form. Surface area could be manipulated for solar gain.

Line charge with perpendicular frames:

This form was selected for its ability to generate form with multi-directional smaller linear components, in an arrangement which could be optimised to maximise solar exposure (by creating planar like regions and adjusting the direction of parts), increase visual intrigue provoking exploration and visitor engagement with the form. Light transmittance through the various components could create stimulating effects, and fabrication could be easily divisible into the smaller components.

Vector spin boxes:

This outcome could potentially improve solar exposure by angulating components towards the most frequent solar incidence angles experienced at the site. For users of the site a maze like form could be established where every perspective within and external to the form would be unique and interesting. Light reflections through the various components of the form create visual intrigue. Fabrication via a series of parts is achievable, however continuity of form can still be retained in the flow of the overall form.

Sweep and piped curves:

A unique and somewhat scattered form, this arrangement blurs the conventional ideas of form, and would be stimulating to both observe and engage with. The numerous components could be manipulated to improve solar gain and create some interesting lighting effects. The flexibility of form could be adjusted to the site and creates endless possibilities for user engagement. A mixture of undercroft and hill like spaces could be architecturally generated.

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The case study explored in this section is the Seroussi Pavillion produced by Biothing, a laboratory focussed on computational design. Alisa Andrasek is the principal designer for the project.1

The project intent was to utilise computational design to derive a pavillion form that was not traditional in its architectural form. A facade which uniquely intersects solar radiation to create patterns of sun/shade has been generated. The algorithm is based on electro-magnetic fields which enable adjustment to site elevations, as the field lines “find the ground“.1

Experimentation with materials is unclear, as is the proposed fabrication technique for the pavillion. The form is continuous and appears to be one piece which could create fabrication challenges. However, the creativity of the form, and stimulating facade are a strength for this computational outcome.

B.3.case study 2.0


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1. Biothing, ‘Seroussi Pavillion’2014) <http://www.biothing.org/?cat=5> [Accessed 1 May 2014].



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B.3.case study 2.0The process of reverse engineering the algorithm for the Biothing case study is progressively described via the diagram and staged descriptions to the right, to be read in conjunction from top to bottom.

curve

divide curve circle at divisions

spin force

merge fields

field line

divide

interpolate curve

pipe

curve in Z direction

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Step 1: A series of curves created in Rhino and referenced in Grasshopper.

Step 2: Divide curves, and insert a circle at curve divisions. Then divide the circular curves.

Step 3: Apply a spin force to the original curve divisions and merge resulting fields. The field output becomes the field input for the Field Line function, with the divisions of the circular curves becoming the point input for the Field Line. Divide the resulting curve and interpolate curve.

Step 4: Insert a unit vector into the algorithm to translate lines in the Z direction from the curve divisions established at the end of Step 3. Apply a graphical relationship to movement in the Z direction.

Step 5: Pipe the resultant curve.

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B.3.case study 2.0

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The final outcome of the reverse engineered Case Study 2.0 illustrates similarities to the original form in regard to the outward reach of curved components from a central ridge. The curves in both outcomes are generally smooth, and there is a level of overlap and connection between curves.

The result differs however from the original outcome, with the outward reach of curved components less expressed, with less movement away from the initial curve, and less of a graphical representation shown by the outward curves.Pipes have also been used to emphasise the form in the reverse engineered outcome.

The free-flowing nature of the final form, retains the organic appearance of the Seroussi Pavillion. This flexibility of form and intertwining of elements, creates visual intrigue and possibility for further exploration of how human’s may engage with the form. There is also potential to harness the use of Dye Solar Cell technology in a unique non-planar form, with outreach components directed toward the sun path for the site.

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B.4.technique: development

species 1

species 1

original reverse engineered form

number of steps on curve adjusted

number of points on curve adjusted

number of points on curve adjusted

number of divides on curve adjusted



Further exploration and amendment to the reverse engineered algorithm are shown on the following pages to generate ideas of form.

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species 2species 1

surface variables delaunay

surface variables piped

surface variables piped

surface sweep

surface sweep reduced numbers

surface cones

surface variables sweep


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B.4.technique: developmentspecies 3 species 3

conic graph circle radius

conic graph piped circle radius piped

number of steps on curve adjusted number of steps on curve adjusted

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species 4species 4

graph parameters

extrusions

curve change

curve change

curve change

curve change

curve change

curve change

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species 5

species 5

replace rectangles with pipe

curve variation

curve variations

curve variation

square base square base

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species 7species 6

decay and spin force

variations of decay and spin force



curve variation

variation of curve divisions

variation of curve divisions

curve variation

36


species 8

connect and pipe interpolated curves

adjust number of curve divisions

adjust number of curve divisions

remove pipe, translate form in X direction

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species 9

species 9

increase translation of form in X direction

translate edge components in Y direction

sub-divide breps and insert rectangles

insert surface boxes as sub-divisions, to create twisted forms

remove connect curve function

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B.4.technique: developmentThe most successful outcomes not only identified the ability to meet the selection criteria as discussed in Section B.2., but also demonstrated varying depths within the design that provided interesting paths within the form at low level, patterning or obstruction of light at high level and differing perspectives of the form dependant on approach.

1 surface area for solar exposure

2 visual intrigue

3 human interaction

4multi-layered perspective

This outcome was selected by the group as one of the most successful iterations due to the opportunities for solar collection, the interesting patterns of natural light that would be projected through the form, the ability for the form to engage and stimulate visitors to the site with varied navigations horizontally and vertically through the form, and its visual interest with varied inward and outward views depending on your position relative to the form. It is unconventional and does not represent any particular form in its own right. If a transparent material and coloured dyes (for Dye Solar Cell technology) was used to construct this form, an additional level of depth, complexity and interest could be added to the site, due to the multi-layered nature of the outcome.

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Despite being one of the original iterations of form, at the end of the algorithm assessment and development, this outcome was still perceived to be one of the most successful. After a reassessment of the selection criteria, its capability for solar collection remains high and due to the flexibility of form this feature can be optimised, it is visually intriguing both from close proximity and further away, it creates interesting alcoves, undercroft spaces, pathways and platforms for user interaction and engagement, and it is multi-layered with many opportunities to manipulate lighting levels and patterns across the site. This form may be challenging to fabricate, as it is made from continuous connecting forms.

An interesting form, this outcome’s greatest success is the ability to raise the form off the ground, creating a level of depth to the art form, while retaining vertical connections to create a sense of unity between all sections of the structure. The deflection of light through the upper components of the structure generating interesting patterns on the trafficable maze below. The angle of the blades also creating further opportunity for lighting effects and deflection. The depth of this form may require further adjustment to prevent the outcome from becoming too uniform when applied to the site, but this is a complexity that could be added to the algorithm. Solar collection may be slightly hindered by the closed nature of the design and the smaller surface area of the components oriented vertically.

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B.5.technique: prototypesPrototypes were developed for the 3 preferred outcomes from computational modelling. The greatest challenge we found was the fabrication of curved surfaces derived via computational modelling. We endeavoured to show the depth of the models via fabrication, as the Dye Solar Cells would be embedded within the form. For this reason surface tools for fabrication were not preferable, however we did test this option to establish the effectiveness of the curved form using planar surfaces, as shown in Prototype 3.

Slicing the computational form was thought to be the most effective option. Prototypes 1 and 2 explore this option using laser cutting of clear perspex, with ink applied between sections of the slices to simulate the appearance of dye solar cells.

Prototype 1 identified that slicing of the computational outcome is possible to achieve the desired affect, however, allowing space between the panels by segmenting the computational design may allow further manipulation of the sliced system to maximise solar gain. Resin was also experimented with to see if a solid clear form could be generated, however challenges with this approach, in particular in establishing an appropriate mould deemed this approach to be unsuccessful.

Prototype 2 utilised a more planar direct adhesion approach to slicing the computational model for fabrication. The aesthetic result was not considered to be as effective as for Prototype 1. However, via further exploration of scale, slicing and ratios, a clearer result may be achievable. Joints and assembly need to be explored further for this approach.

Prototype 3 explored the option for the planar surface of the computational model to be printed, cut and assembled. The assembly of the model was successful, however the aesthetics were not considered as aligned with the selection criteria, and as suitable to Dye Solar technology implementation as for the technique used for Prototypes 1 and 2.

prototype 1

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prototype 2 prototype 3

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The site is flat and square and located within a relatively industrial area. Therefore, to meet our selection criteria and create an aesthetically appealing place to visit, the outcome will need to add dimension to the site. The multi-layered approach of our preferred computational model outcomes could therefore be extended across the site to create an intriguing landscape and journey through the site for visitors. Both educational, stimulating and exciting, the human interaction can be further explored by the extension of algorithms to map out this journey.

The site is very exposed to solar radiation, which is ideal for solar energy generation and places very little limitation on the form. It does however introduce the requirement for shading to create comfortable conditions for visitors to the site on warm weather days. To optimise the performance of the energy generation, algorithms can be added to the computational modelling to explore form which provides the maximum solar benefit. This may result in unexpected forms yet again. Prototyping identified that the maximum surface area, and hence solar gain, may be achieved by fragmenting or segmenting the design, therefore this option can explored further in the next stage of design. This does however provide a challenge in resolving how the individual segments may be practically linked in the physical model. Also, the greatest impact of the design may be its ability to create a particularly unconventional form of solar energy generation, and the omittance of planar surfaces could enhance this effect. We will consider this idea strongly going forward.

B.6.technique: proposal

Figure 20: LAGI Site Copenhagen (Source: Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10)

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Figure 20: LAGI Site Copenhagen (Source: Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10)

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Following the interim presentations, areas for improvement discussed were:

• Model making requires further exploration and refinement to demonstrate form and the fabrication potential of computational models, including joints and structural components.

• Further justification needs to be explored for the integration and arrangement of Dye Solar Cell technology within forms.

In the next stage of the design, we would like to explore how to model solar radiation across the site using grasshopper plug-ins such as ladybug or archsim, in order to generate forms which maximise solar output. Prototyping will also be further explored to identify effective fabrication and joint techniques, that are both durable and meet aesthetic requirements.

B.7.learning objectives & outcomes

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C.1.design concept

Following from the technique development in Part B, and considering the feedback from the interim design presentations, we chose to develop the preferred parametric outcome as shown below.

The challenges going forward were to develop successful prototyping of the circular form, to apply the form appropriately to the site and to maximise solar energy generation.

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Feedback from the interim presentation identified the need to develop a strong relationship between the placement of dye solar cells to maximise energy generation, create visual intrigue and a practical outcome for energy generation, storage and distribution.

This required a rethink of the tubular form and its potential to limit solar radiation exposure, due to a thin surface area. It also raised the issue, that a large proportion of the surface area for a tubular form does not capture radiation as it is oriented away from the sun. Initially we considered only applying panels to the areas of the form which receive the greatest solar radiation. This however, limited the energy generation potential of the form.

We then explored ways to maximise the surface area of the form oriented to the South, to improve energy production. The initial concept to achieve this was a fin like component, where the surface area of the tubular form expanded and could be angled to the South in the most effective solar collection points.

We utilised the Ladybug plug-in for Grasshopper to assess the solar radiation exposure of simplified forms to assess the most effective designs.

integration of dye solar cells

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One of our greatest challenges was to fabricate a circular form, utilising primarily planar fabrication techniques. Our models presented at the interim presentation were critiqued for being simplified, utilising slicing techniques without careful consideration of the joints, connections and potential construction of the design at full scale. They clearly represented the limitations of fabrication creativity and exploration.

Following the interim presentation, we explored opportunities with 3D printing, as we found 3D printing enabled unique form to be generated to fulfil our design criteria while resolving connections and joints between components. The temptation was to construct the form entirely from 3D printed components, due to endless design possibilities. However, this also limited the creativity of the design and reduced the feasibility of large scale production and manufacture, as large scale 3D printing has high costs and material limitations.

Rather than resort to utilising 3D printing to fabricate all the components of the model, we explored the materials available at the Fab Lab to identify alternatives. Options were also explored for structural framework and component interfaces. Fabrication was explored via multiple iterations to explore scale, connection methodology and visual aesthetics.

The first concept of fabrication comprised of a 3D printed tubular from with ball joints on either side to enable the connection of multiple components. To hold the joints together, we considered developing a structural framework. The results of fabrication testing are shown to the right, with the 3D joint in white and the structural framework options in black. The ball joints were effective in the flexibility they enabled for simulating the parametric form. The framework added another level of complexity which had the potential to detract from the simplicity and effectiveness of the original form, and for this reason was not pursued further.

C.1.design conceptfabrication

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Removing the requirement for a secondary structural framework required the ball joint tubular component to become the structural skeleton for the form, and ways to apply a secondary skin for application of the dye solar cell technology were explored.

We first experimented with paper, and developed the fin concept whereby an elliptical form was wrapped around the circular tube component. By cutting slits into the paper, the curvature of the paper form increased to create a more fluent form that could potentially simulate the algorithmic model. The paper model didn’t however represent the visual effect of dye solar panels that we had imagined, which we had hoped would comprise of a clear material with the potential to insert the dye solar cell technology.

This however was the establishment of the initial design concept to be developed further in the following sections.

C.1.design concept

the design concept born

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Using various combinations of input curves, following are the preferred iterations of the algorithm as applied to the site boundary. All three demonstrate the objective to create varied pockets of intimate and exposed spaces for people to interact and engage with the form while maintaining the prominent view towards the water to the West.

The flexibility of the form, enables multiple options to be developed on site. As the existing site is relatively flat, the topography can also be manipulated to suit the final form including perspectives across site, views to the water, and orientation of solar components to the South to maximise energy generation. Local culture can be further explored and the algorithm manipulated to develop spaces which can be most effectively utilised.

C.1.design concept

The visual interpretation of the form, from close proximity and from a distance, is centred on the idea of solar energy generation, and therefore the essential elements of dye solar cell technology, colour and light, can be emphasised by the form. Night lighting is incorporated to allow the message of renewable energy to be seen from a great distance, encouraging discussion and attracting visitors to the site. The duration the lights remain on for at night may be correlated to the amount of solar energy generated during the day prior. In the same way, the colours used in the dye solar cells may be representative of the amount of solar energy generated at each component of the panel, promoting discussion and learning as visitors and onlookers engage with the site.

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As the site is located in a primarily industrialised area, night lighting draws visitors to the site and expands the reach of the educational objective beyond the immediate vicinity of the site.

The site is well exposed to sunlight and there are endless possibilities of form to maximise the energy generation. The fin concept being explored enables the fins to be oriented to the South to maximise the solar radiation collected by the fins. The tubular structural skeleton enables varying heights and curvature to be achieved by the form to optimise energy generation and prevent shadowing effects from adjacent fins. As the site is highly exposed to solar radiation, the pockets of shade established by the form and glittered with colour from the dye solar cell technology, create comfortable and vibrant outdoor recreational spaces for visitors.

C.1.design concept

Figure 21: LAGI Site Copenhagen (Source: Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10)with initial design proposal overlayed

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Figure 21: LAGI Site Copenhagen (Source: Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10)with initial design proposal overlayed

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The Grasshopper design technique from Part B was modified to incorporate fins simulating the dye solar cell panels. These were oriented South to maximise solar gain. Input curves were manipulated relative to the site, to assess multiple configurations and algorithm options. The design definition is outlined to the right.

The construction process is outlined on the next page. It considers the assembly of the structural skeleton of the system on site comprising of the tubular joints, followed by the application of the dye solar cell components which are the fins. The connection of the structure to the ground is supplemented by pier/pile footings designed according to the final scale of the architectural form and the foundation conditions.

C.1.design concept curve

divide curve circle at divisions

spin force

merge fields

field line

divide

interpolate curve

create horizontal planes along curve

curve in Z direction

design definition

duplicate an ellipse shape along curve (dimensions determine spacing)

rotate ellipse elements to orient surface towards the South

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construction process

Pier/pile footings poured. structural joints for the form are integrated and set into footings

structural steel joints assembled from base upwards

temporary structural support required during construction at high spanning arcs

batteries & energy generation infrastructure assembled within joints prior to construction

structural steel framework for dye solar cell panels is assembled on site and bolted to the tubular joints

dye solar cell panels are assembled in sections and inserted into the fin structural framework

ball joints are rotated as required on site to suit final positioning of components and are bolted in place

at the end of the project’s life, all components can be disassembled and reassembled on another site or recycled, minimising waste

ground works, excavation for footings and built up land as per design contours

the main materials used (glass, steel and aluminium) can be sourced from recycled products

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C.2.tectonic elements

GLASS SUPPORTED BY STEEL WITH INSET DYE SOLAR PANELS

HOLLOW STEEL CONSTRUCTION ALLOWS FOR SERVICES TO BE RUN THROUGH INTERIOR

BALL AND SOCKET JOINTS ALLOW FOR FLEXIBILITY OF DESIGN TO ACCOMMODATE SITE PARAMETERS

0º - 45º

CASING HOUSES ELECTRICAL INFRASTRUCTURE

The core construction elements include a central tubular structural element wrapped in a dye solar cell panel shaped like a fin.

The intent was to 3D print the structural joints, which comprise of a circular core to create the framework to wrap the solar panels around, and a ball and socket joint to allow multiple components to be connected at varying angles. These joint components would house the electrical infrastructure for energy generation, enable the fluid algorithmic form to be created and provide structural rigidity to the form. Variations of the joint with the incorporation of pile/pier footings would enable the structural connection at ground level.

The fins applied to the tubular structure house the dye solar cell technology and provide the aesthetic of the form. A flexible material was required for the fabrication of the fins. Following the success of the paper trial, laser cutting of 0.6 mm clear polypropylene was selected as the preferred methodology and material for fabrication of the fins.

The fabrication process and development of all components is discussed further in the following pages.

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PILES VARYING IN DEPTH ACCORDING TO SITE PARAMETERS

DYE SOLAR CELLS

ALUMINIUM CASING

STRUCTURAL STEEL

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C.2.tectonic elementsprototype developmentThe structural joints were fabricated via 3D printing. Several iterations were tested, the 3D models are shown here in order of development.

First prototype. Surfaces irregular due to coating methodology used for model generation. Heavy & bulky, but effective ball joint.

Second prototype. Experimented with ellipse form for core. The intent was to slide the fins into the tubular form instead of wrap them around. Precision for the gap was difficult to control and the aesthetic result not ideal.

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2000 mmdiameter(@1:1)

7000 mm length (@1:1)

Third & final prototype. Slender form, connections for fins on the underside of the tubular form, socket joint set lower than the ball joint to account for the curvature of fins. Note, the dimensions indicated are at 1:1 scale, the prototype was printed at 1:50 scale.

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C.2.tectonic elementsprototype development

The fins were fabricated via laser cutting of 0.6 mm clear polypropylene. Several techniques were explored to enable the fabrication of the fins at various scales, the laser cutting drawing files and fabrication outcomes are shown here. Note, the dimensions indicated in blue are at 1:1 scale.

1:200 1:50

6300mm (@1:1)

1400

0mm

(@1:

1)

63

1:10

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C.2.tectonic elementsThe final 1:50 fabrication outcome, incorporating the 3D printed tubular joints and the laser cut fins, demonstrates the flexibility of the ball joint in all directions providing endless opportunities for configurations of form.

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C.3.final model

site model1:200

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C.3.final model

site model1:200

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C.3.final model

site model 1:200

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C.3.final model

detail model 1:50

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C.4.additional LAGI brief requirements

Inspired by synthetic photosynthesis, the project represents how energy generation can simulate nature via its process, visual form and the omission of waste and greenhouse gas emissions. The theme of the project is solar radiation and the theme resonates through the form, its orientation, use of colour and integration of night lighting. The sole energy generation technology used throughout the form is Dye Solar Cell Technology. An emerging technology which harnesses solar energy via a layer of electrolyte, a layer of titania and a layer of ruthenium dye, sandwiched between two conductive layers of glass. When light hits the cells, an electric current is generated.

All components of the design aim to communicate the possibilities of emerging technology, the creativity of the industrial form and how we relate to energy generating infrastructure. The traditional image of a coal fire power station is nowhere to be seen at the LAGI Copenhagen site. A contrasting form to the industrial developments adjacent, the project aims to project a message to residents and tourists from across the harbor of the opportunities in sustainable design, with a new, fresh, unseen perspective of energy generation.

From a distance, a fluid and irregular scaled form can be sighted, during the day glittering in colour with the reflections of sunlight, at night a glowing reflection of the power generated during the day prior. The form consists of a structural skeletal core, wrapped with fins embedded with colourful dye solar cell technology. The combination of numerous components opens endless possibilities of the scale and form of the landscape art piece, and corresponding energy generation as a result. The flexibility of form enable the dye solar fins to be angled toward the South to maximise solar gain. The heights of the structure can also be varied, and the form can be modelled and optimised to increase energy generation accordingly. The colours of the fins are varied and are a direct reflection of the proportion of solar radiation gained on an annual basis at each point on the fin, with the radiation spectrum of colours imbedded in the panels.

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ENVIRONMENTAL IMPACT STATEMENT

All of the materials used to construct the art piece are recyclable, and perhaps more importantly, when recycled the integrity and strength of the materials can be retained. Recycled materials can be used entirely to construct the form, and at the end of the infrastructure’s life the components can be recycled or disassembled and reassembled on an alternate site. Disassembly is enabled via the use of bolted instead of welded joints. The entire construction is essentially waste free.

Furthermore, the energy generated by the site, will be offset towards the embedded energy in the materials used to create the form, and all additional energy generation processes associated with the on site construction and transport of materials to the site. The tracking of the energy generated on site, relative to the energy required to construct the form, provides a useful interactive tool for visitors of the site to understand the various energy inputs/outputs that are involved with all constructed forms.

Zero emissions are produced by the energy generation process itself, and therefore the project will not pollute the airspace on site or affect adjacent properties.

Adjustment to the topography and existing landscape on site, provides an opportunity to restore the landscape and re-introduce local flora. The art piece is primarily suspended above the landscape, which allows vibrant planting of vegetation to take place across the site. Creating a beautiful natural landscape for visitors to explore and reiterating the alliance between nature and human made forms that the project represents.

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The Ladybug plug-in for Grasshopper was used to simulate the annual solar radiation captured by a simplistic version of the site model. Ideally the plug-in would be used to assess the entire model as developed, however processing time and computer system capabilities limited the ability to undertake this task. The results of the simplified analysis are shown in the image on the following page. The colour of the fins representative of the solar radiation absorbed by each proportion of the fin. These colours are also proposed to be the colours used for the dye solar cell technology, to provide a visual large scale representation of the effects of solar radiation on site.

Using the results from this analysis and scaling the results to be representative of the physical 1:200 model which was produced, provides the following estimated energy generation for the site. These results could however be optimised further to achieve the desired outcome by adding more fins to the site.

ANNUAL ESTIMATED ABSORBED RADIATION4.5 GWh

DYE SOLAR CELL TECHNOLOGY11% EFFICIENT

TOTAL ESTIMATED ANNUAL ENERGY PRODUCED495 MWh


estimate of the annual energy generated by the design

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Dye Solar Cell Panels, comprising of:glass casingelectrolyte layertitania layerruthenium dye layerstructural steel framework(total fin dimensions approx. 6300mm wide by 14000mm long. Split into sections for manufacture and assembly)

Skeletal steel structural joints complete with ball joints at either end. Includes electrical infrastructure housed in aluminium casing.(total dimensions approx. 2000mm diameter by 7000mm long)

Skeletal steel structural joints complete with pier/pile footings for base components at ground level(total dimensions approx. 2000mm diameter by 7000mm long + pier/pile dimensions)

Bolts required for all structural steel connections including the connection of the structural steel framework for the dye solar cell panels to the skeletal structural steel joints


material list

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C.5.learning objectives & outcomes

Feedback from the final presentation for improvement of the proposal was as follows:

• Further exploration of multiple iterations on site and the creation of interesting spaces. With solar radiation an explicit focus of the form, optimise this and the angle of fins toward the South.

• Explore further how colour may be utilised via dye solar cell technology to create interesting patterns and/or convey a message.

• Variations in size of fins could be explored. It was suggested the scale of the fins may be too large. The size of the fins could potentially vary to create an interesting effect. Further exploration of how people relate to the form, and what it is like to be close to the fins may assist with visualising scale.

These recommendations were explored further to develop some interesting ideas/concepts for future consideration and development. Digital visualisation of these ideas are illustrated in the following pages.

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digital visualisation on-site iterations

Further on-site iterations were explored and also incorporated into the main body of the journal. Some examples are shown here.


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digital visualisation colour & lighting integration


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Colour and light are key forms of expression for the landscape art piece. There are numerous options for colour and lighting which could be tailored to the site and clients requirements.

In regard to meeting the LAGI brief, the use of a radiant lighting colour spectrum representative of the solar radiation typically absorbed by each panel, would provide a visually intriguing educational connection between the form and energy generation. Potential examples of this are illustrated above and on the preceding page.

Patterns and text could also be embedded within the dye solar cells conveying further messages in regard to renewable energy generation including the benefits, possibilities and information on how the system works.

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digital visualisation scale & human interaction


1000mmdiameter

3500mm length

3200

mm

7000mm

Reducing the scale by 50% was tested via digital visualisation of human interaction with the form. Images are shown on the following page and the result was effective. With the diameter of the tubular form reduced to 1m, people could look over the form and sit against it at ground level. The complexity and interactions of the form at eye level were increased resulting in a more interesting space. The size of the fins were still large enough to provide large catchments for solar gain and to provide dramatic architectural effect. The revised 1:1 dimensions are as follows.

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Objective 1. “interrogat[ing] a brief” by consideringthe process of brief formation in the age of optioneering enabled by digital technologies;

The design task proposed limitless opportunities for form generation. Experimentation with digital algorithms and the formulation of a list of design criteria as undertaken in Sections B.2. and B.4, guided the development of the brief and ongoing framework for design. Interrogating the brief via the development of computational iteration matrices, provided a systematic and logical approach to selecting the most suitable options to pursue during design development.

Objective 2. developing “an ability to generate avariety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;

The matrices developed in Part B demonstrated the exploration of design possibilities, and in particular of unexpected outcomes via computational design. Very often in architecture, you start with an idea of form and then attempt to resolve the form via the detail. However in this case, letting go from the concept you would like to imagine for the site and exploring ideas purely based on algorithm experimentation expanded the design opportunities dramatically. Throughout the design process, the form was challenged by the introduction of a new algorithmic variable.


Objective 3. developing “skills in various three dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;

Rhino provided a great 3D visualisation tool for the outcomes of parametric modelling derived via Grasshopper. Combined with the requirement to fabricate the preferred outcome, created the added challenge of successfully communicating the digital form to a physical form. Fabrication iterations explored in Part B.5. and Part C, illustrate how these skills were refined towards the end of the Semester.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;

The relationship between architecture and air was explored via visual, structural and in the case of our project particularly the effect of solar radiation and shadowing. How the form was placed across the site, the relative heights of the form, how the form was structurally suspended in air via the tectonic elements, the level of solar radiation collected by the form and the effects of shadowing to ensure energy generation was maximised were all considered throughout the design process.

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Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse.

The design process followed a logical sequence of iterations where every design step / iteration was assessed for its contribution to the overall design intent. This was illustrated via the matrices in Part B where the algorithmic logic was based on meeting the chosen selection criteria for the form. In Part C, the fabrication process resulted in successes and failures, related to structural, visual, scale or brief context. All these factors contributed to the ability to be able to substantiate the final form and all its detailed tectonic elements. Although initially, parametric modelling appeared to be quite random in its form generation, the process itself was thorough and logical in its assessment of the design outcomes and provided valuable support for the final design proposal.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

Looking back at the design process from the early conceptual design stage to the final detailed outcome, a series of progressive iterations and decisions were undertaken to refine and assess the design against the LAGI brief, our own design criteria and external feedback. Precedent projects were explored to guide the early stages of the design, and to inspire parametric ideas and possibilities. Later in the process, analysis tools such as the Ladybug plug-in for Grasshopper were used to assess the outcomes. Fabrication of the design outcomes in Parts B and C, provided valuable tools to practically assess how the form may be technically constructed.

Objective 7. develop foundational understandings ofcomputational geometry, data structures and types of programming;

Utilising Grasshopper to formulate the physical outcomes as demonstrated in the matrices in Part B, required an understanding of the algorithmic techniques, inputs and geometric relationships that influenced the form. This allowed options to be manipulated in Part C of the design with an awareness of how the algorithmic variables may affect the result. The Ladybug plug-in for Grasshopper was also utilised as an analysis tool during Part C.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

Throughout the design process the computational algorithm for the project was continually changing, manipulated to suit the desired result, the brief, site conditions and solar analysis. With every iteration to the formulae a new technique was learnt, or an unsuccessful outcome identified. There were limitations with elements of the design, for example, when algorithms became too complex processing time increased dramatically, and in some cases the models were simplified to overcome this.

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AEC, ‘Smartgeometry 2012 Conference’2012) <http://www.aecbytes.com/buildingthefuture/2012/SmartGeometry2012.html> [Accessed 26 March 2014].

Ali Kriscenski, ‘Sieeb Solar Energy-Efficient Building in Beijing’2007) <http://inhabitat.com/sino-italian-ecological-and-energy-efficient-building-sieeb/> [Accessed 22 March 2014].

Biothing, ‘Seroussi Pavillion’2014 <http://www.biothing.org/?cat=5> [Accessed 1 May 2014].

Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15.

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003).

C. J. MacLellan, P. Langley, J. Shah, and M. Dinar, ‘A Computational Aid for Problem Formulation in Early Conceptual Design’, Journal of Computing and Information Science in Engineering, 13 (2013), 10.

‘Dye-Sensitized Solar Scores Morgan Stanley Backing’, World Congress on Ecological Sustainability, (2008) <http://www.wcoes.org/2008/06/dye-sensitized-solar-scores-morgan.html> [Accessed 7 June 2014].

Dyesol, 2014) <http://www.dyesol.com/about-dsc> [Accessed 7 June 2014].

Evonne Barry, ‘New Hi-Tech Building Aims to Keep Men Cool and Women Warm’, Herald Sun, 13 July 2010.

Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp1 - 10

GBCA, ‘Pixel’2013) <http://www.gbca.org.au/green-star/green-building-case-studies/pixel/> [Accessed 22 March 2014].

Grocon, 2014 <http://www.pixelbuilding.com.au/greenicon.html> [Accessed 22 March 2014].

Harvard Art Museums, ‘House of the White Man’, Harvard Art Museums, (2013) <http://www.harvardartmuseums.org/art/225298> [Accessed 6 May 2014].

IAAC, ‘Endesa Pavilion’2011 <http://www.iaac.net/archivos/project/pdf/endesa-brocheng.pdf>[Accessed 4 May 2014].

‘Icd/Itke Research Pavilion 2010’, Stuttgart University Institute for Computational Design, (<http://icd.uni-stuttgart.de/?p=4458> [Accessed 4 May 2014].

Jessica Escobedo, ‘Double Agent White in Series of Prototypical Architectures / Theverymany’, Evolo, (2012) <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [Accessed 4 May 2014].

references

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Kathy Li Dessau, ‘Learning from Nature: Dye-Sensitized Solar Cells’, Solar Novus Today, (2010) <http://www.solarnovus.com/learning-from-nature-dye-sensitized-solar-cells_N1598.html> [Accessed 7 June 2014].

Neil C. Katz, ‘Parametric Modeling in Autocad’2007) <http://www.aecbytes.com/viewpoint/2007/issue_32.html> [Accessed 26 March 2014].

Rivka and Robert Oxman Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014).

Romande Energie, ‘Epfl’s Campus Has the World’s First Solar Window’, École Polytechnique Federale de Lausanne, (2013) <http://actu.epfl.ch/news/epfl-s-campus-has-the-world-s-first-solar-window/> [Accessed 7 June 2014].

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008).Alison Furuto, ‘Bloom / Do|Su Studio Architecture’, ArchDaily, (2012) <hhttp://www.archdaily.com/215280/bloom-dosu-studio-architecture/> [Accessed 26 March 2014].

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. pp. 5-25.

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week 1A complex lofted surface was generated to represent a scaled facade.

This form presents an interesting perspective for solar design, where the blades/scales of the facade could be adjusted to maximise solar heat gain, and energy capture via solar cells.

appendix-algorithmic sketches

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week 2

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A low lying landscape was generated utilising a lofted surface with piped intersections.

This form could potentially represent the relationship between structural elements and infill solar panels. The flexibility in the curvature of the surface enabling the solar capture capability of the surface to be maximised.

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week 3

Lists were utilised to generate a form for childrens play equipment.

The result suggests a level of mobility of the equipment. A possible feature that could be integrated to track the solar path.

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week 4

A subdivided lofted surface was generated to represent a cactus, with piped lines for the spikes.

The flexibility in location of objects on a surface via algorithms, may provide opportunity for solar gain to be maximised via their strategic location. The forms experimented with here, showing regions of the surface with and without piped lines.

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week 5 The algorithmic task for Week 5 required the recreation of the Biothing computation to generate unique forms. Via manipulation of graphs and variables, some new ideas were generated separate to the ideas explored in the main context of this journal. A reminder of the variation in output and results from adjustment of variables alone, without major changes to the fundamentals of the algorithm.

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week 6

The Delaunay Mesh tool is utilised to apply triangulated panels to the surface connecting a series of interpolated curves for which divisions and extrusions are applied.

The result identifies how relatively smooth surfaces can be broken up into smaller panelling components for fabrication.

sirianni stephanie 160759 final journal

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